| Papers [1-15] of 37 :: [Page 1 of 3] | | Go to page : 1 2 3 —> | Search results on "SYMPHONIES": |
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Beethoven and his Symphonies, 2007.
This paper provides a discussion of Ludwig Van Beethoven's life and his famous nine symphonies.
1,734 words (approx. 6.9 pages), 7 sources, MLA, $ 56.95
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Abstract
The paper reveals that many consider Beethoven to be the greatest composer in the Western music tradition. The paper discusses Beethoven's earlier and later years and describes his famous nine symphonies.
Outline:
Early Life
First Works
Leaves for Vienna
Struggles with Deafness
Last Days
Symphony No. 1
Symphony No. 2
Symphony No. 3
Symphony No. 4
Symphony No. 5
Symphony No. 6
Symphony No. 7
Symphony No. 8
Symphony No. 9
From the Paper
"Beethoven (1770-1827) is considered by many as the greatest composer in the Western music tradition. His stature among music composers is such that his name is familiar even to people who do not listen to classical music, while he is also held in the highest esteem by the most discerning connoisseurs of Western classical music. The wide range of his music composition encompasses a variety of genres, including symphonies, concertos, sonatas, string quartets, chamber music and opera, forming a bridge between the classical and romantic eras of musical history."
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Tchaikovsky's Symphonies Five and Six, 2008.
This paper analyzes and compares the fifth and sixth symphonies composed by the Russian romantic composer, Peter Il'yich Tchaikovsky.
2,350 words (approx. 9.4 pages), 8 sources, MLA, $ 72.95
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Abstract
This paper explains that Tchaikovsky's "Symphony Five" and "Symphony Six" ("Pathetique Symphony") are mature compositions, showing the full flowering of the composer's romanticism and his musical ability. The author presents, for both symphonies, the background, organization, stylistic developments, orchestration and themes and progressions of each movement. The paper relates that the plan for the most of Tchaikovsky's symphonies begins with a pessimistic first movement, a second that is sad and peaceful, a third with an allegro movement in dance form and a fourth that is vigorous. The author points out that the "Sixth Symphony" does not follow this pattern in that the last movement is slow and mournful, giving rise to the idea of it being prophetic because of the death of the composer soon after it was premiered.
From the Paper
"Garden states that the Fifth Symphony is more operatic even than the Fourth Symphony, using highly colored orchestration and a vivid presentation of ideas as did the Fourth, but also using operatic crescendos and more frequent alterations in tempo. This is particularly true in the slow movement, which makes use at the outset of the operatic aria in the Andante cantabile, con alcuna licenza, and with the licenza marked in the score. Garden also cites the way Tchaikovsky seeks contrasts with contrasting blocks of similar instruments."
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First Symphonies, 2004.
This paper examines the first symphonies of Edward Elgar and Rimsky Korsakov.
675 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
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Abstract
The writer looks at the first symphonies of each of the composers Edward Elgar and Rimsky Korsakov. The writer discusses that similar tools are used by both of the composers, but each creates very different works. The writer notes that although Elgar's music is distinct in many ways from that of Rimsky Korsakov, the two are bound by the lyricism of their works and by their desire to create music that reflected in a profound way their very different homelands.
From the Paper
"Edward Elgar and Rimsky Korsakov both created symphonies that were lyrical and lovely and each of which expressed modern musical motifs in very different ways This paper examines the first symphony of each composer examining the ways in which these two near contemporaries used similar tools and rules of composition to create works that are strikingly different from one another. While Nikolai Rimsky-Korsakov would write his First Symphony well within the conventions of the classical symphony, Elgar writing later and with English rather than Continental musical influences at ..."
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Beethoven's and Mahler's Second Symphonies, 1972.
This paper discusses each composer's major works and compares Beethoven's and Mahler's Second Symphonies Discusses.
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
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From the Paper
"A listing of any composer's "major" works runs the risk of deleting the favorites of any given segment of the music-loving public. Nevertheless, it can be said that Beethoven's work fills three periods, the first of which ended about 1800. By then he had composed his first six string quartets, his first 10 piano sonatas, his first four piano trios, his septet, and his first symphony.
The second period began roughly in 1802, at a time when the composer realized he was losig his hearing. He himself, though in anguish, said that he was "making a fresh start.". He then produced one of the subjects of this paper, the Second symphony; the Eroica, Fourth, Fifth, Pastoral, and Seventh symphonies; the Moonlight, Waldstein, and Appassionata piano sonatas; the Fourth and Fifth piano concertos; his one and only opera, Fidelio; his ... "
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Beethoven's First & Fifth Symphonies, 1999.
Analyzes structures, movements, forms, tonality, innovations, key shifts and instruments; compared to other composers' works.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
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Abstract
"Ludwig van Beethoven's composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, and Berlioz, among others.
From the Paper
"Ludwig van Beethoven's composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, and Berlioz, among others. Beethoven's wrote only nine symphonies; on its face this seems paltry compared to Haydn and Mozart, who established the Classical symphonic style--between them, they wrote over 150. However, despite the beauty (and often humor) found in Haydn's symphonies and the sheer brilliance of Mozart's, Beethoven single-handedly redefined the form and used it as a means of emotional, as well as musical, expression. This research will examine two of Beethoven's symphonies, his.."
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Joseph Brahms' "Symphony No.1", 2008.
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
1,185 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper
"The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
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The Finale of Beethoven?s Choral Symphony, 2006.
A look at how Beethoven's Choral Symphony helped shape the genre of the classical symphony.
910 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper examines the great impact that Beethoven's Choral Symphony had on the genre of the classical symphony. The paper explains how, despite of all the criticisms of the Choral Symphony that continue to this day, in writing it Beethoven helped the genre of classical symphony evolve, translating it from the Classical to the Romantic.
From the Paper
"In addition, recent studies on the sketches have been difficult, as some sketches were lost, sold, or found to be out of their original order (Levy 19). It is evident from what has been found and deciphered that Beethoven's original intention was to write two separate symphonies, and the Ninth is what resulted from his simultaneous work on both. Evidently, he intended his two symphonies to consist of a London symphony, which would be instrumental; and a German symphony, setting Schiller's "An die Freude" to a different tune than the one he finally used in the Ninth (Cook 13-14)."
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20th Century American Symphony, 2005.
A study of modern American symphony.
1,015 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
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Abstract
This is a short essay detailing modern American symphony from Howard Hanson to John Williams. It starts off by stating that the symphony originated from instrumental music and how that gradually led to a symphony orchestra.
From the Paper
"In his first symphony, Piston incorporates much of what he had learned in his life. He has hints of different styles, which is a good example of how broad his studies were. In the finale, there is an energetic rhythm that blends both tradition as well as American optimism. As for all of his symphonies, they end in a grand finale."
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Beethoven's 9th Symphony, 2002.
Analysis of Ludwig von Beethoven's Ninth Symphony in D Minor.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
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Abstract
This six-page undergraduate paper offers a detailed analysis of Ludwig von Beethoven's Ninth Symphony in D Minor. An introduction and historical background to the work are included, and the symphony is placed within a broad cultural, philosophical, and historical framework. The paper concludes with a technical analysis, and some personal thoughts regarding the work. .
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Toronto Symphony Orchestra, 2002.
A review of a performancy by the Toronto Symphony Orchestra.
1,900 words (approx. 7.6 pages), 3 sources, $ 71.95
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Abstract
This is a review of a classical concert performance and a critique of the programming of this concert by the Toronto Symphony Orchestra (February 16, 2002). This review indicates how the performance was characterized more by its diversity than by its stylistic or thematic unity. This review focuses on this aspect of the performance, and argues that while it is not essential to the success of a concert, the audience's understanding of the reasons behind the programming of a concert can contribute greatly to its success.
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"Ninth Symphony", 2002.
A review of Beethoven's musical composition, the "Ninth Symphony".
1,372 words (approx. 5.5 pages), 10 sources, MLA, $ 45.95
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Abstract
This paper reviews Beethoven's classical musical piece the "Ninth Symphony". The writer includes a review of places and events this music has been played, included at the Berlin Wall and in Kubrik's "A Clockwork Orange". The paper attempts to describe the musical piece in words and explain its meaning and background, from both a technical and an entertaining viewpoint. The writer believes that Beethoven's Ninth is possibly the best piece of music ever written.
From the Paper
"Today, we can only be grateful that Beethoven?s music was spared the kind of criticism practised in the 21st century, ?It would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony, or irreverence in the scherzos, just as Soviet critics have discovered traces of ?bourgeois decadence? in the music of Rachmaninov.? (Grove, Beethoven and His Nine Symphonies) Musical censorship in Beethoven?s era seems liberal in comparison to today?s standards?or perhaps it is only that criticism was not so advanced in his time."
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Mozart's Symphony K-550, 1978.
This paper presents a detailed, technical analysis of all four movements of Mozart's Symphony K-550: Exposition, development, style, melody, form, phrasing. Extensive manuscript references.
1,800 words (approx. 7.2 pages), 0 sources, $ 63.95
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From the Paper
"First Movement: The movement is in sonata-allegro form, and characterized generally by the regular phrasing of its cut-time meter (in 2- and 4-bar groups). The exposition, development, and recapitulation sections are roughly balanced on a ratio of 4-3-5, and the textural qualities of the three sections are basically homophonic-contrapuntal-homophonic (with considerable quasi-contrapuntal decoration of the harmony). Orchestrally, the strings provide the foundation for most of the writing, although the winds are particularly important for their use in the major transitional points of the form. The beginning of the development section (ms. 102-105) and the retransition (ms. 160-166) are ... "
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Utah Symphony and the Utah Opera, 2006.
A case study of the merger of the Utah Symphony and the Utah Opera.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
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Abstract
This paper discusses issues regarding merging separate arts institutions as described in a Harvard Business Case. The paper covers various related topics including the role of communications and the decision-models employed. The paper further addresses the likely stress points in the post merger environment management as well as the question of how the dissimilar business models and artistic product of the two institutions mesh or not mesh.
From the Paper
"Superficially at least the Utah Symphony and the Utah Opera have much in common. Both are performing arts non-profit institutions; both specialize in presenting forms of classical music and both operate in a part of the country far from the mainstream centers of such "high-brow" cultural activities. Peel back a layer or two, however, and it becomes immediately apparent that the two organizations have very different cultures. For starts, opera is as much a theatrical as it is a musical art form. Whereas a symphony gives a concert, an opera company stages a production in which instrumental music plays a major but by no means exclusive role. Indeed, opera is an electric, highly collaborative art form: scenery, costumes, makeup, stage movement, and acting are as instrumental to a production as singing and musical accompaniment. "
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"Symphonie Fantastique" by Hector Berlioz, 2002.
This paper discusses "Symphonie Fantastique" by Hector Berlioz Op. 14 (1830), with particular attention given to the 5th movement, "Dream of a Witches' Sabbath".
895 words (approx. 3.6 pages), 0 sources, $ 31.95
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Abstract
This paper explains that, though the theme of the Berlioz's 5th Movement, "Dream of a Witches' Sabbath," might suggest a dark or boding tonal element, the focus of this work as a lively piece that integrates images of the trivial and excitable relates a different perspective on this theme. The author points out that Berlioz initiates the "idee fixe" with the use of a clarinet, which appears to suggest a kind of dance movement, integrating timpani and brevity in order to maintain some question as to the purpose of the dance. The paper states that there are musical elements that further contextualize the dance, creating a quick-moving segment utilizing violins and violas, which create darkness in the sound quality that underscores the contrast between exuberance and loss.
From the Paper
"These factors are related to the alternative interpretation in the immediacy of the contemplative nature of the dramatic personae in Berlioz's work. The use of this component shapes the perspective integrated into the work and also sets the stage for change. It is not surprising, then, that the fast pace of the dance segment and the liveliness presented can sometimes be used to interpret a different meaning from the work. Further, Berlioz also sets apart the elements of doom, including the introduction of the Dies Irae, which is a mass-like component that suggests dread or doom. This element is based on the belief that the Witches Sabbath is defined by death or by the death of an individual and the need to be a part of a burial process, all of which also demonstrate the loss inherent in the work."
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Paul Hindemith and his Symphony, 2004.
Analysis and history of Hindemith's "Symphonic Metamorphosis".
2,023 words (approx. 8.1 pages), 4 sources, APA, $ 64.95
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Abstract
This paper examines the man behind the musical work, "Symphonic Metamorphosis". The life of Paul Hindemith is discussed, and the manner in which the music piece was compiled is analyzed. It concludes that "Symphonic Metamorphosis" is an example of the work that has made Hindemith one of the most masterful artisans in musical history.
From the Paper
"Paul Hindemith was born in Hanau, Germany on November 16, 1895. His father, Robert Rudolf, played the zither and was enthusiastic about music. Robert ran away from home at a young age because his father would not let him become a musician and as a result, he decided his own children should have the career he was not permitted to have. He subjected Paul, his brother, Rudolf, and his sister, Toni, to a strict routine of practice and training."
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